Daily Dose Of Jazz…

Irvin Stokes was born November 11, 1926 in Greensboro, North Carolina. He moved to New York City in 1947 and recorded with a Charlie Singleton sextet in 1949. Throughout the 1950s he worked in the big bands of Tiny Bradshaw, Duke Ellington, Mercer Ellington, Erskine Hawkins, Buddy Johnson, Andy Kirk, and Jimmie Lunceford. 

By the end of the decade Stokes was playing in Austin Powell’s ensemble, then went on to record with Bobby Donaldson and Lou Donaldson in the early 1960s. Principally with Broadway musical bands in the 1970s such as Hair, in 1978 he played on the Thad Jones-Mel Lewis Orchestra’s tour of Europe, and with Panama Francis at the end of the decade. 

His credits in the 1980s included George Kelly, Illinois Jacquet, Oliver Jackson, and the Count Basie Orchestra. He was a regular performer alongside Spanky Davis at Doc Cheatham’s Sunday brunch gig at the Sweet Basil Jazz Club, continuing in this role after Cheatham’s death in 1997, when Chuck Folds took over. He also played with the Statesmen of Jazz late in the 1990s. 

Trumpeter Irvin Stokes, who recorded two albums as a leader, Just Friends and Broadway w/Oliver Jackson, retired from music.

Bestow upon an inquiring mind a dose of a Greensboro trumpeter to motivate the perusal of the genius of jazz musicians worldwide whose gifts contribute to the canon…

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INDIANAPOLIS JAZZ COLLECTIVE FEATURING TERRELL STAFFORD

There is no better way to celebrate great jazz than with the Indianapolis Jazz Collective featuring Rob Dixon, Steve Allee, Kenny Phelps + Nick Tucker with featured guest artist trumpeter Terell Stafford. Join The Jazz Kitchen and these supreme, creative musicians for a night that explores what jazz has to offer through standards, jams and improvisation.

“One of the great players of our time, a fabulous trumpet player.” – McCoy Tyner

Terell Stafford, acclaimed trumpet player based in New York, is recognized as an incredibly gifted and versatile player, he combines a deep love of melody with his own brand of spirited and adventurous lyricism. Stafford’s exceptionally expressive and well defined musical talent allows him to dance in and around the rich trumpet tradition of his predecessors while making his own inroads.

Showtimes: 6:00pm & 8:30pm

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CHARLES MCPHERSON & SEAN JONES

Charles McPherson with Sean Jones featuring Jeb Patton, Russell Hall & Billy Drummond

Thursday-Sunday, November 10-13th
Thursday: 7:30pm
Friday & Saturday: 7pm & 9:30pm
Sunday: 5pm & 7:30pm

Four incredible nights with these five grand masters!

“Charles is the very definition of excellence in our music. He is the definitive master on this instrument. He plays with exceptional harmonic accuracy and sophistication. He performs free-flowing, melodic and thematically developed solos with unbelievable fire and an unparalleled depth of soul.” – Wynton Marsalis

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Requisites

Cookin’ With The Miles Davis Quintet ~ The Miles Davis Quintet | By Eddie Carter

This morning’s choice from the library is the first of four albums Miles Davis recorded to complete his contract obligations with Prestige before moving on to Columbia Records. It took only two days for all four to be made but resulted in Relaxin’ (1958), Workin’ (1959), Steamin’ (1961), and Cookin’ With The Miles Davis Quintet (Prestige PRLP 7094), released in 1957. The group consists of Miles Davis (track: A1) on muted trumpet, (tracks: A2, B1, B2) on trumpet, John Coltrane (tracks: A2, B1, B2) on tenor sax, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. My copy used in this report is the 1984 Prestige Jazz Golden 50 Series Japanese Mono reissue (Prestige SMJ-6534M) by Victor Musical Industries, Inc.

Side One begins with the date’s only quartet performance, a gorgeous rendition of My Funny Valentine by Richard Rodgers and Lorenz Hart. Red introduces the standard with a brief introduction, segueing into the trumpeter’s sublimely beautiful, muted melody over the rhythm section’s soft accompaniment. Miles then expresses his thoughts and feelings in a heartwarming performance. Red comes in with a compelling interpretation preceding the trumpet’s sensual beauty at the end. The quintet picks up the pace for an original by Miles, affording everyone solo space, Blues By Five. The trio introduces this tune with an infectious groove. Davis steps up first for a vivacious opening solo, next Coltrane follows with a swinging statement. Garland creates a mood of cheerfulness in the third reading, then Chambers makes a strong impression next. Philly shares an intriguing conversation with Garland who leads the trio to the finish line.

Side Two starts at a fast clip with a speedy rendition of Airegin by Sonny Rollins. John opens with a lively introduction that sets the tone for the ensemble’s vigorous melody. Miles kicks off the solos with fierce intensity, then John fuels the second statement with plenty of heat into the ensemble’s return for the reprise and abrupt stop. Tune-Up by Miles Davis opens with a brisk introduction by Philly ahead of the quintet’s spirited melody. Davis is captivating from the opening notes of his exhilarating reading. Coltrane comes next and surges upward toward the stratosphere. Garland gets a brief moment to shine, then Miles and Philly have a short exchange into the close. The quintet wraps the album with When Lights Are Low by Benny Carter and Spencer Williams. The solo order is Miles, Coltrane, and Garland. All three take their readings at a leisurely pace leading to the group’s exit and a brief word from Miles.

Bob Weinstock supervised the original session of Cookin’ With The Miles Davis Quintet, and Rudy Van Gelder was the recording engineer. The remastering of his tapes by Victor Musical Industries is outstanding, and this reissue is a sonic treat. The sound is spacious, natural, and well-balanced. The vinyl is dead silent until the music starts and each track on this album and its companions were all done in just one take. If you’ve listened to or own any of the other three records in this series, get ready to like Cookin’ With The Miles Davis Quintet just as much. I highly recommend this album to anyone who loves jazz and is a fan of Miles Davis’s work during the fifties. This version of the quintet lasted just two years, but they made an indelible impression by creating music that can be played repeatedly and enjoyed endlessly!

~ Relaxin’ With The Miles Davis Quintet (Prestige PRLP 7129), Steamin’ With The Miles Davis Quintet (Prestige PRLP 7200), Workin’ With The Miles Davis Quintet (Prestige PRLP 7166) – Source: Discogs.com
~ My Funny Valentine – Source: JazzStandards.com
© 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Johnny McClanian Best, Jr. was born in Shelby, North Carolina on October 20, 1913. He played piano as a child and learned trumpet from age 13. In the 1930s he worked with Les Brown, Charlie Barnet, and Artie Shaw from 1937 to 1939, then joined Glenn Miller’s orchestra for three years in 1939.

Before serving in the Navy during World War II as a lifeguard he spent a short time with Bob Crosby. During his service he played in Shaw’s military band and Sam Donahue’s band. Following a stint with Benny Goodman after the war, then he relocated to Hollywood, California where he worked with Crosby again on radio and played in numerous studio big bands in the 1940s and 1950s.

Touring with Billy May in 1953, later in the decade he led his own group locally. His trumpet can be heard along with Ella Fitzgerald on her album Get Happy. In 1964 he toured Japan with Crosby, and joined Ray Conniff for worldwide tours in the 1970s.

In 1982, he broke his back while working in his avocado orchard and used a wheelchair late in life, but was active into the 1980s. He played the trumpet solo on the Glenn Miller recording At Last, which was featured in the film Orchestra Wives.

Trumpeter Johnny Best,  who played on Begin the Beguine which put Artie Shaw in business, transitioned on September 19, 2003.

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